The most tense, most vertiginous, most dazzling film of the Safdie brothers (the same ones of Daddy Longlegs and Heaven Knows What; The Pleasure of Being Robbed is only of Joshua) also marks its definitive consecration in the American cinema. Now sponsored by Scorsese and starring Robert Pattinson, the Safdie show that the possible imbalances of their previous films were not due to stylistic babblings, but, perhaps, to simple lack of means.

In Good Time, the story of two brothers on the path of crime – a not at all brilliant path, although not played on the comic side -, we get into the robbery of a bank, in a chase, in the possibility of hiding, in an attempt to rescue and in a chain of tragicomic failures. And the use of “we get in” is not casual: in the movies of Safdie we are close to the characters, almost with them, located in short medium shots or close-ups, although always with air on the sides. The use of the wide screen -2,35: 1- allows the directors never to leave the context: their creatures live in a New York away from the earthly glamor; always close to falling, they are charged with a vital and moral despair like the cinema of the seventies; if even the music of Daniel Lopatin -alias Oneohtrix Point Never- at times recalls that composed by John Carpenter for his unforgettable Assault on the precinct 13.